Geoff Ryman - Was

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Was: краткое содержание, описание и аннотация

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From Publishers Weekly
Ryman's darkly imaginative, almost surreal improvisation on L. Frank Baum's Oz books combines a stunning portrayal of child abuse, Wizard of Oz film lore and a polyphonic meditation on the psychological burden of the past.
From Kirkus Reviews
The Scarecrow of Oz dying of AIDS in Santa Monica? Uncle Henry a child abuser? Dorothy, grown old and crazy, wearing out her last days in a Kansas nursing home? It's all here, in this magically revisionist fantasy on the themes from The Wizard of Oz. For Dorothy Gael (not a misprint), life with Uncle Henry and Aunty Em is no bed of roses: Bible-thumping Emma Gulch is as austere (though not as nasty) as Margaret Hamilton, and her foul- smelling husband's sexual assaults send his unhappy niece over the line into helpless rage at her own wickedness and sullen bullying of the other pupils in nearby Manhattan, Kansas. Despite a brush with salvation (represented by substitute teacher L. Frank Baum), she spirals down to madness courtesy of a climactic twister, only to emerge 70 years later as Dynamite Dottie, terror of her nursing home, where youthful orderly Bill Davison, pierced by her zest for making snow angels and her visions of a happiness she never lived, throws over his joyless fianc‚e and becomes a psychological therapist. Meanwhile, in intervening episodes in 1927 and 1939, Frances Gumm loses her family and her sense of self as she's transformed into The Kid, Judy Garland; and between 1956 and 1989, a little boy named Jonathan, whose imaginary childhood friends were the Oz people, grows up to have his chance to play the Scarecrow dashed by the AIDS that will draw him to Kansas-with counselor Davison in pursuit-in the hope of finding Dorothy's 1880's home and making it, however briefly, his own. This tale of homes lost and sought, potentially so sentimental, gets a powerful charge from Ryman's patient use of homely detail in establishing Dorothy's and Jonathan's childhood perspectives, and from the shocking effects of transforming cultural icons, especially in detailing Dorothy's sexual abuse. Science-fiction author Ryman (The Child Garden, 1990) takes a giant step forward with this mixture of history, fantasy, and cultural myth-all yoked together by the question of whether you can ever really go home.

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"What?"

"I'm seeing things. I'm hallucinating. You're a psychiatrist. You tell me what that means."

Bill went very silent. In front of him was a rush place mat. He traced its spiral pattern with the blade of a knife. "It all depends," said Bill Davison, "on whether the visions are true or not."

Jonathan thought a minute and then said, "I think they are."

Muffy had cooked a Turkish meal. The main course was made of eggplants and onions. They waited awhile before dessert, hoping that Ira would come. Drinking whisky had been a mistake. Jonathan felt himself go quiet and slightly confused. He listened.

Bill talked about the history of Kansas. The Old West, he said, had stringent gun-control laws. You checked your firearms before you came into town. Wichita, Kansas, was the town of Wyatt Earp, of Bat Masterson, the town of all those TV shows along with Dodge City, also in Kansas. For the whole decade of the 1870s, when Wichita was one of the wildest cowtowns, the total number of people murdered in it was four. Four people killed in ten years. In Los Angeles, it was four a day.

"It was the cities Back East that made up the Wild West," said Bill. "The penny-dreadful magazines, and the movies after them."

"What about Billy the Kid? He was real."

"Looks as if he may have been born in New York City."

Jonathan began to hear cattle lowing, somewhere up the canyon perhaps.

"Tell me more about Dorothy," he said.

"She was from a farming community called Zeandale, near a place called Manhattan, Kansas. Its other claim to fame is that Damon Runyon was born there."

"What was she like?"

"Well," said Bill, looking into his wineglass. "It was as if she lived in Oz all the time. She lived in a world of her own. Maybe that was what Baum saw in her, maybe not. I wrote to the Baum Estate to find out more about it. All they could tell me was that Baum had been a substitute teacher there for a short while. They thought it more likely that the character in the book was named after Baum's niece."

He told Jonathan the story, as much as he knew. He told him how Dorothy had died. The room seemed to fill with the low smoky light that comes on winter afternoons, sun through silver mist.

"One day," said Bill, "I might just go to Manhattan and see what else I can find out about her. Speaking of which, how are you and Oz getting on?"

"I beg your pardon?"

"Oz. Remember our contract?"

Jonathan had forgotten.

Ira finally arrived in his own car. He was gray with fatigue, and he stared coldly at Jonathan.

"I rang and rang. Where were you?" he asked, as he sat down.

Jonathan's eyes were round, unblinking, feverish. He didn't answer.

Ira turned to Bill. "I'm really sorry, Bill. I wanted to call and say I was going to be late, but I didn't have your home number."

Bill explained. "That's okay. Jonathan told me he was locked out of your house. He couldn't answer the phone."

"I've lost my house keys, Ira," said Jonathan. The room glimmered, as sunlight sprinkles snow with stars. Someone was trying to walk toward Jonathan through the mist. All Jonathan could see was a dark shape, lumpy, in dark clothes. Light came in rays from all around it, cutting through the mist, casting shadows.

"I'll need sunglasses," said Jonathan and grinned and grinned.

Muffy came in, carrying the dessert. To Jonathan, the dessert looked like a chocolate pudding.

"I made this specially for you," Muffy said to Jonathan.

Jonathan imagined how smooth the chocolate pudding would be. He picked up the serving spoon and plunged it into the dish, and then, confused, pushed it into his own mouth.

"Jonathan!" exclaimed Ira and thumped both hands on the table. The pudding seemed to turn into dust in Jonathan's mouth. It was chestnut pudding, bland and with a kind of powdery texture underneath.

"It's okay," said Muffy. "I'll get another serving spoon."

As she left for the kitchen, Jonathan thought: She made it for me, and I don't like it and that will hurt her feelings. I know. I'll eat without chewing it, so I won't have to taste it. There was silence at the table as he gulped it. He took another serving spoonful and swallowed again. He made a noise like a frog.

Muffy came back out. One more mouthful for her. He stuck the spoon in and swallowed it whole, raw.

"Very. Good," he said.

Then he stood up and shambled into the kitchen and threw it up, into the sink, over the draining board.

"Oh God! Jonathan!" shouted Ira.

There was a kitchen chair. Jonathan slumped helpless onto it, otherwise he might have fallen.

Ira was in the kitchen first. He picked up a towel. It was a good dishtowel, too good to use.

"Oh Jesus, Jesus, Jesus," he said and flung the towel against the wall in rage. Muffy came in.

"I'm so sorry," said Ira to her.

"That's okay. I can clean it up," said Muffy. She did not sound cheerful, but managed to be reasonably businesslike.

"No. You will not. That is one thing you mustn't do," said Ira. There were wispy trails of blood in the pudding.

Jonathan had begun to realize exactly what he had done. He wished he was dead. Then he remembered that he would be soon enough. "I'm sorry," he said, in a voice perhaps too low for the others to hear. Jonathan tried to get up and found that he couldn't. "I'll clean it up," he said. Again, no one seemed to hear.

Muffy flashed rubber gloves. Ira took them from her. "Really," he said. "I'd rather you let me do it."

"Okay," said Muffy. "Jonathan, would you like to go outside for a walk?"

What?

Then it was a minute or two later and Muffy wasn't there. Ira was scrubbing, his back to Jonathan, pouring bleach on the draining board.

"Ira? We were talking about Wichita," said Jonathan. "And Wyatt Earp. He wore a policeman's uniform. Mostly he just took in stray dogs. His sisters were registered prostitutes."

Ira did not answer.

"I'm sorry, Ira."

Ira still did not answer. When he was done, he seemed to sag in place. He pulled off the gloves and let them soak in bleach, and he washed his hands, and he turned around, and his face was white like a fish's belly and stubbled with blue-black beard. He looked fat and haggard at the same time. He had been working until nine o'clock. He had been working a lot lately.

Ira walked out of the kitchen and left Jonathan sitting there.

And there was the mist again, and there was someone walking through the mist, out of the midst of the dishwasher.

"Squeaky clean," said Jonathan and grinned.

Whoever, whatever it was drew back as if afraid. Was it wearing a dress?

"No, no, don't be afraid," said Jonathan. It seemed to come back.

Sometime later, Bill was leaning over him, arm across his shoulders. "Who are you talking to, Jonathan?"

"I beg your pardon?" Jonathan replied, on automatic pilot. There was nothing in the kitchen except for the stove, the sink, the dishwasher.

"You've been talking to someone out here for quite some time."

Jonathan didn't remember that at all.

"Who to?" Bill asked.

Jonathan wasn't quite sure, but he could hazard a guess. "Dorothy," he replied.

Ira drove them back home in silence. They had had to leave Jonathan's car behind. Muffy said she would drive it home for them the next day while Ira was at work. "I'll stop in and see you," she said to Jonathan.

Jonathan realized later that he had not answered her.

It had drizzled during dinner. The streets were greasy with rain, slick and shiny. The colors swam in Jonathan's eyes.

"Snakes," he said. "Snakes on the road." He meant that the lights seemed to move. He did not mean that he was actually seeing snakes. Ira's eyes were as hard as the lenses of his glasses.

Getting back to the freeway, they passed an old-fashioned shopping plaza. There was a long low blank white wall, with a row of poplars in front of it. It glowed in blue-white strip lighting, and Jonathan blinked.

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